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DREIER 


DOROTHEA A 


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THE 
DOROTHEA A. DREIER 
EXHIBITION 


FOREWORD AND CATALOGUE 


BY 


CHRISTIAN BRINTON 


PRIVATELY PRINTED 
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DOROTHEA A. DREIER 





By Walter Shirlaw 














REVERIE 


] 


[ 


FOREWORD 


Die Zeit ist eine blihende Flur, 
Ein grosses Lebendiges ist die Natur, 
Und alles ist Frucht, und alles ist Samen. 

T is to the enduring glory of the Renaissance that it frankly 
recognized the position of woman alike in life, letters, and 
art. As early as the thirteenth century the University of 

Bologna opened its doors to Betisia Gozzadini, who successfully 
attended its courses, albeit clad as a boy, like Plato’s pupil 
Axiothea. And similarly, the French Academie Royale, from 
1663 onward, admitted women artists to membership, the first to 
be accorded such distinGion having been Catherine Duchemin, 
wife of the sculptor Girardon. In the Athens of Plato, Italy of the 
Rebirth, France of the radiant Grand Siecle— wherever in brief 
the spirit of genuine liberalism prevails—woman occupies her 
rightful place. And what is true of society is likewise true of 
family, that eloquent microcosm of the larger social order. 

It was in an atmosphere of freedom and advancement, intel- 
lectual and artistic, that grew to maturity the subject of the present 


monograph, a personality rare in singleness of purpose, in ardent 


Lon 


unity of aim. Though an individualist, yet to a significant degree 
was she the product of family tradition and the ideals of a pro- 
gressive domestic environment. Dorothea A. Dreier was born in 
Brooklyn, December 8, 1870. Her father had come to America 
from Bremen in 1849, bringing with him not a little of that spirit 
_of social democracy so characteristic of the thriving Freistadt on 
the Weser. And not only was her father in many respects typical. 
of his native Bremen, but equally so was the faithful family nurse 
“Nene,” who occupied a position of importance in the house- 
hold during some forty years of service. This racy individual left 
the Stamp of her virile, forthright personality upon each of the 
children in succession. It was therefore not strange that it should 
have been in the Holland of simple, stolid Dutch huisvrouwen 
— who were not unlike her old nurse « Nené”— where the art of 
Dorothea Dreier eventually disclosed that which was deepest and 
most enduring. Holland became in large measure her artistic 
foster home, and to the interpretation of Dutch life and character 
she devoted her rapidly affirming talents. | 

To have produced her initial series of Dutch paintings was a 
significant achievement. Yet its significance cannot rightly be 
gauged unless one knows something of the personality of the 


artist and of her particular point of view towards her work. Al- 


[10] 


ways in class was she the freest and broadest in vision and 
handling. From the outset she displayed a salutary independence 
of spirit that made her efforts Stand apart from those of the other 
Students. None of the softness and sentimentality adjudged typi- 
cal of the feminine temperament mark her early attempts. Rapidly 
noting essential elements only, she succeeded after her own fash- 
ion in suggesting the fundamental realities of line, colour, form, 
and movement. It was the possession of qualities such as these 
that eventually enabled Miss Dreier to translate life as she saw it 
into terms of true plastic representation. 

Her predecessors in Holland, including George Hitchcock 
and his talented pupils, among whom may be noted Florence 
Upton, chose as a rule the brighter side of Dutch life—the var- 
iegated bloom of a springtime tulip field, gaily tinted living- 
room, or gleaming kitchen. Liebermann sounded a soberer 
note, as did likewise Gari Melchers, but for the majority Holland 
was light and lyric or quaintly picturesque. Not so with Dorothea 
Dreier. Among the humble weavers of Laren she found material 
after her own heart. Here, in grey-toned interior, permeated with 
the insidious dust and lint from ceaselessly plying loom, she made 
sketch upon sketch. She studied these veritable human machines 


in their every aspect and attitude, recording that which to her 


[11] 


was most typical. Something of the hopeless monotony of toil, 
the poignant resignation one meets for example in the miners of 
Constantin Meunier, chara¢terize these expressive panels. Yet for 
the broad synthesis of Meunier we here have a restless intensity 
that recalls Vincent van Gogh. In spirit Dorothea Dreier was 
modern and subjective, whereas Meunier, despite his proletarian 
sympathies, harks back to the serenity of the classic age. Her 
first Dutch series marks for its author not alone a characteristic 
individual development; it forms a distinctive contribution to 
contemporary American painting. 

Modernism, as such, was virtually unknown to the general 
public in 1908, the year these canvases were completed. Gauguin 
was still accounted a barbarian, van Gogh’s work was being shown 
to a few amateurs in a tiny shop just off the Place de la Madeleine, 
and the sagacious Ambroise Vollard was having difficulty con- 
vincing anyone that Cézanne was worthy of serious consider- 
ation. Neither Fauves, Cubists, nor Futurists had thus far formed 
themselves into homogeneous bodies for the delectation of society 
in general. Whilst the programme of modernism was gathering 
momentum, the artist who chose to work out new problems 
along individual and progressive lines was forced to do so alone, 


unaided by any sort of sustaining group movement. It is this fac&t 


[12] 


that makes the Dutch paintings of Dorothea Dreier so consid- 
erable an achievement. They in a measure bridge over the period 
between such a canvas as Liebermann’s Cobbler Shop and the 
Stressful individualism of van Gogh. In point of artistic evolution 
they may be characterized as post-Impressionistic, and it is among 
the post-Impressionists where their author rightly belongs. 

Like Vincent van Gogh, or Paula Modersohn-Becker, Miss 
Dreier came from a home that had much of the truly burgerlich, 
though more spiritual freedom than one currently meets in such 
a Spacious mansion as the family residence at 6 Montague Ter- 
race. The house was the scene of many a congenial gathering in 
which there was never the least hint of class consciousness. All 
were on a basis of wholesome equality. Nor was the note of na- 
tive American simplicity in any degree lacking, for the daughters 
attended the Brackett School, where they came into contact with 
precepts and principles refreshingly Emersonian in their whole- 
some individuality of vision. 

And thus amid surroundings at once substantial and imbued 
with genuine cultural impulse, awakened to conscious effort the 
creative aspiration of Dorothea A. Dreier. Her father drew well 
when a young man, mainly landscape subjects in gouache, and 


one of the family’s prized possessions was a fine Oswald Achen- 


[13] 


bach. As a child Dorothea used to watch from the windows of 
her home the lights of myriad-eyed Manhattan, and, following 
a certain amount of preliminary training, began her artistic studies 
in the pseudo-Venetian palace in East Twenty-third Street, then 
serving as the local habitat of the National Academy of Design. 
Her first regular instructor was the late John H. Twachtman, who 
though a spirited soul, kept his pupil a year or more drawing 
heads, hands, and feet from casts, mostly above life size. 

Yet it was not Twachtman, nor debonair Chase, nor the ton- 
alistic Charles H. Davis, who specifically influenced her develop- 
ment. The preceptor who contributed most to her advancement 
was Walter Shirlaw, with whom she studied in the classes of the 
Brooklyn Art League in the historic Ovington Studios. Shirlaw’s 
wide technical experience, his independence of thought, and 
breadth of taste proved a genuine help to both Dorothea Dreier 
and her sister Katherine. He was one of the rare men of his time 
who instructed his pupils in the principles of art rather than in 
personal or professional mannerisms. 

While much was absorbed in class, despite the drudgery of 
drawing from the customary fatigating casts, it was the successive 
summer visits to Europe that proved the chief source of artistic 


stimulus to the aspiring sisters. The mute yet eloquent lessons 


bia] 


gleaned from the master canvases in the galleries and museums 
of Belgium, Holland, Germany, Austria, Italy, France, Spain, and 
England, were at this period their veritable evangel. And grad- 
ually these trips, which began under the guidance of the admir- 
able Miss May E. Robinson, became extended sojourns mainly 
in Holland, where, as has been noted, Dorothea Dreier’s aesthetic 
nature found its predestined setting. 

Supplementing the early paintings executed at Laren, most of 
which consisted of interiors depicting the life of work-weary 
weaver or industrious huisvrouw, are the outdoor scenes from 
Noordwyk Binnen. They are free though vigorous in spirit, blos- 
soming garden and winding avenue of elms here assuming an 
appeal more interpretative than actualistic. Dating from 1912, 
the year the sisters attended the memorable modernist art exhi- 
bition at Cologne, they indicate a decided technical advance, 
a distinct Striving for that sense of structural form which under- 
lies mere outward and visible semblance. | 

No one in fact could have visited that unforgettable display, 
locally known as Der Sonderbund, without imbibing fresh cour- 
age and independence. The modern movement was presented 
upon this occasion as never before or since. The great pioneers and 


protagonists were seen in full strength, van Gogh leading the list 


[15] 


with no less than one hundred and eight of his most important 
paintings, besides twenty drawings. And what was particularly sig- 
nificant regarding this exhibition was the fact that it proved mod- 
ernism was not an exclusively French manifestation. The move- 
ment in reality revealed itself as a deep-rooted spiritual as well as 
aesthetic resurgence affecting virtually every European country— 
a symptomatic struggle for self-expression. 

Although admiring this convincing vindication of the newer 
tendencies in current art, Miss Dreier did not plunge into the 
movement to the sacrifice of her innate equipoise. Travel, study, 
and constantly renewed effort mark the interval, as the scene of 
her activities shifts many times during the ensuing years — now to 
Holland, now Switzerland, now the pulsing luminosity of New 
York, again the crisp clarity of the Adirondacks or the White 
Mountains. In Saranac, however, her entire outlook, both per- 
sonal and professional, underwent a transformation, a distin 
sublimation, due to a serious illness that never conquered her 
spirit until the final call. 

Previously she had painted almost exclusively in full oils, em- 
ploying fairly vigorous impasto. At this period of her develop- 
ment she turned to pastel and to water-colour, finding in the 


delicate suggestion of the one, and the fluid responsiveness of 


[ 16 ] 


the other, congenial media for the expression of her particular 
mood. Hitherto her work had based itself more upon analysis than 
upon synthesis, but for the time being the latter won precedence 
over the former. The Flamingoes, executed in pastel, are decora- 
tive and fanciful, whilst distinétly emotional and imaginative are 
the imposing views of White Mountain range in summer and 
autumn. The latter occupy a position of unique importance in 
the artist’s progressive evolution. Unity of impression, the 
elimination of the nonessential,and genuine breadth and simplicity 
of vision are here in evidence. One cannot survey these sweep- 
ing panoramas of native scene without realizing they possess the 
magic of that which is created, rather than the dull fidelity of that 
which is merely observed and recorded. 

Upon her return from Europe in 1920 Miss Dreier again con- 
centrated her energies upon a single theme, as had been the case 
with the Weavers of Laren. It was not Holland; it was her own 
country which upon this occasion afforded the requisite stimulus. 
In the series of paintings devoted to New York she achieved 
another forward step. Painted from the windows of her suite in 
the Hotel Seville, these vibrant panels reflect the pictorial essence 
of a quarter where the new ruthlessly impinges upon the mellow 


and picturesque. The view looking west on Twenty-ninth Street 


[17 | 


including the Little Church Around the Corner, snugly tucked 
between encroaching skyscrapers, was a favourite motif, and one 
that in a measure dominates the series. Each appropriately local- 
ized, yet together forming a homogeneous ensemble, the paint- 
ings of New York reveal the artist singing in colour, line, and 
freely handled form that song of Manhattan which Whitman 
alone has been able to articulate — that chant which is at once the 
proud paean of materialism and a challenge to the human spirit. 

Upon settling at Riverdale, where she occupied the fine old 
Delafield mansion, there begins another sharply differentiated 
phase of Miss Dreier’s work. It proved the climax, as it did the 
close, of her professional activity. Into the cycle of Hudson River 
Studies, and the completion of certain compositions begun in | 
Geneva, she concentrated the essence of her artistic message. To 
the synthetic note which characterizes the Adirondack and White 
Mountain series are here added, in increased measure, the vigor- 
ous impasto and bold brush-work of the Dutch and New York 
subjects. For unity of vision and structural strength these Stark 
stretches of palisade and frozen river surpass anything the artist 
had previously attempted. As however is the case with the gen- 
uinely creative temperament, her mood frequently changed, and 


to the austerity of winter landscape was added the animation of 


[18] 


Genevan flower market and glinting sail boat dotting the surface 
of the lake. The bright, variegated Flower Market, reproduced 
upon the cover, proved in faét her last considerable canvas, her 
final gift of visible beauty to the world. 

As you sutvey in congenial perspective the offering of Doro- 
thea A. Dreier, you cannot fail to be impressed with its abiding 
earnestness of intent. Whatever defects this work may betray, 
however it may fall short of its author’s own definite standard, 
it never descends to the trite or the trivial. Miss Dreier began 
her career at a period when the majority of her contemporaries, 
especially those of her own sex, were engaged in the gentle art 
of making pictures. The fact that a subject was pleasing and attrac: 
tive was considered ample excuse for transferring it to canvas. 
Tonalism, upon which American taste had been nurtured since 
the vogue of the Barbizon and Dutch masters, had been largely 
succeeded by Impressionism, which, with most of our artists, 
merely became a species of tonalism in a lighter, higher key. 

Instead of remaining smooth, surfaces were broken. In place of 
perpetuating the popular elegiac brown, prevailing tints became 
mauve or violet. The appeal in each case was the same. It was 
still the appeal of sentiment. Apparently it did not occur either 


to painter or to the public that aesthetic expression might be a 


[19 ] 


matter of dynamic creative intensity, as well as a genteel 
stimulus to one’s feeling for the so-called beautiful. 

Art progresses not in uniform sequence, but through a series 
of sharply defined reactions. The antidote to Impressionism was 
shortly disclosed in the aims and activities of the post-Impression- 
ist group. Impressionism is analytical. Post-Impressionism and its 
allied manifestations are synthetic. Satiated with mere outward 
appearance and cheap pictorial illusionism, the newer men went 
below the surface. From beneath the gossamer shimmer spread 
over the face of nature by the master of Giverny, they revived with 
almost ruthless zest the eternal verities of form, structure, and 
actual substance. Vibration gave place to volume. Yet the approach 
to this rediscovered objectivity was distinétly subjective and indi- 
vidualistic. Therein lay its strength—and its potency. 

It is midway between the delicacy of Impressionism and the 
more rigorous achievements of the modernists that Dorothea A. 
Dreier finds her place in contemporary art. Whilst remaining 
in frank sympathy with light, colour, and atmosphere, she is not 
unmindful of the increasing prominence the study of abstract 
form assumes in the work of the later men. Her course as a cre- 
ative artist moves along lines at once normal and independent. 


And not only does her work display independence of technique, 


[ 20 ] 


it evinces that same valued asset in choice of theme. Sentiment 
for its own sake she frankly abjured, nor could anything be 
farther from her intention than the perpetuation of the pretty or 
the popular. Portraiture, and the emphasis upon physiognomy 
and character as such, lay outside her sphere of interest. So also 
did the traditional studio still-life with its unsteady tables decked 
with portentous pears and significant sausages. 

If the ablest of Miss Dreier’s Holland series, the Weavers of 
Laren, recall in subject-matter Liebermann’s Cobbler Shop, now 
in the Berlin National Gallery, they nevertheless reveal a deeper 
psychological understanding of the Dutch temperment. They por- 
tray these men and women as they actually are, bowed down by 
the burden of toil and the conditions under which it is performed. 
They never strike that note of comfortable studio convention 
which one encounters in so many presentations of Netherland 
life and scene. 

It is equally true that certain of the Hudson River views 
likewise suggest that sobriety of mood which the American 
Abbott Thayer imprisoned in his Mount Monadnock landscape 
recently added to the collection of the Metropolitan Museum. In 
brief, a consistently maintained integrity of aim is the most typi- 


cal feature of Miss Dreier’s contribution taken as a whole. The 


[ 21] 


deeper essence of nature and humanity alone attracted her, and 
these simple, eternal elements she strove to express with all the 
plastic and colouristic conviction at her command. 

Among her American contemporaries one looks in vain for a 
parallel, though in Europe one instantly recalls Paula Modersohn- 
Becker, the gifted German pre-modernist who died just as she 
was producing her finest things. Virtually the same age, they 
shared many points in common. A Bremerin, as was Dorothea 
Dreier by heritage, Paula Becker joined the artist colony of 
Worpswede, where she married one of its leading figures, the 
painter Otto Modersohn, and where she managed to work out 
her own salvation much after the manner of her colleague overseas. 

Both developed intensively, impelled by a similar spiritual as 
well as aesthetic necessity. And both at the same fruitful phase of 
activity were fated to relinquish a task, in each case, in so for as 
it went, a complete personal expression. Their problem was in a 
measure the same, and was solved with kindred courage and 
surety. In a period of artistic transition they achieved that which 


was not transitory. 
CHRISTIAN BRINTON. 


[ 22 ] 


CATALOGUE 





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OIL PAINTINGS 


WEAVERS I | 
Painted in Laren, Holland, 1908. Exhibited at the Société Anonyme, 
1921, and the Worcester Art Museum, November-December, 1921. 
Oil on canvas. Height 19% inches; width 29 inches. Unsigned. 


WEAVERS II 
Painted in Laren, Holland, 1908. Exhibited at the Societe Anonyme, 
1921. Oil on canvas. Height 18 inches; width 25 inches. Unsigned. 


WEAVER— MALE I 
Painted in Laren, Holland, 1908. Exhibited at the Sociéte Anonyme, 
1921. Oil on canvas. Height 18 inches; width 22 inches. Unsigned. 


4 WEAVER—MALE II 


Painted in Laren, Holland, 1908. Exhibited at the Societe Anonyme, 
1921. Oil on canvas. Height 18 inches; width 22 inches. Unsigned. 
Lent by the Worcester Art Museum. 


WEAVER—FEMALE I 
Painted in Laren, Holland, 1908. Exhibited at the Societé Anonyme, 
1921. Oil on canvas. Height 174 inches; width 19 inches. Unsigned. 


255) 


6 WEAVER—FEMALE II 


10 


11 


Painted in Laren, Holland, 1908. Exhibited at the Société Anonyme, 
1921. Oil on canvas. Height 15% inches; width 19% inches. Unsigned. 
Lent by the Museum of Fine Arts, Houston, Texas. 


WEAVER —FEMALE III 


Painted in Laren, Holland, 1908. Exhibited at the Societé Anonyme, 
1921. Oil on canvas. Height 18 inches; width 22 inches. Unsigned. 


DUTCH KITCHEN 


Painted in Laren, Holland, 1908. Not hitherto exhibited. Oil on 
Canvas. Height 22 inches; width 18 inches. Unsigned. 


ROADWAY, NOORDWYK BINNEN 


Painted in Noordwyk Binnen, Holland, 1912. Not hitherto exhibited. 
Oil on canvas. Height 39% inches; width 27% inches. Unsigned. 


ROSENHOEF, NOORDWYK BINNEN 


Painted in Noordwyk Binnen, Holland, 1912. Not hitherto exhib- 
ited. Oil on canvas. Height 39% inches; width 27% inches. Unsigned. 


+ 


THE GARDEN, ROSENHOEF 


Painted in Noordwyk Binnen, Holland, 1912. Not hitherto exhib- 
ited. Oil on canvas. Height 3134 inches; width 23 34 inches. Unsigned. 


[ 26 ] 


EZ 


13 


14 


15 


16 


17 


NEW YORK I 


Painted in New York, 1920. Exhibited at the Société Anonyme, 
1921. Oil on canvas. Height 26 inches; width 20 inches. Unsigned. 


NEW YORK II 


Painted in New York, 1920. Exhibited at the Societé Anonyme, 
1921. Oil on canvas. Height 28 inches; width 20 inches. Unsigned. 


NEW YORK III 


Painted in New York, 1920. Not hitherto exhibited. Oil on canvas. 
Height 24 inches; width 16 inches. Unsigned. 


NEW YORK IV 


Painted in New York, 1920. Not hitherto exhibited. Oil on canvas. 
Height 32 inches; width 24 inches. Unsigned. 


NEW YORK V 
Painted in New York, 1920. Not hitherto exhibited. Oil on canvas. 
Height 30% inches; width 18 inches. Unsigned. 


NEW YORK VI 


Painted in New York, 1920. Not hitherto exhibited. Oil on canvas. 
Height 30 inches; width 24 inches. Unsigned. 


2 74] 


18 


19 


20 


21 


22 


SNOWBOUND | 

Painted in Riverdale, New York, 1920. Exhibited at the Yonkers 
Art Association, 1921. Oil on board. Height 3134 inches; width 33% 
inches. Signed, lower left. 


RIVERDALE—WINTER 
Painted in Riverdale, New York, 1920. Not hitherto exhibited. Oil 
on board. Height 3134 inches; width 3334 inches. Signed, lower right. 


THE HUDSON—WINTER 


Painted in Riverdale, New York, 1920. Not hitherto exhibited. Oil 
on board. Height 32 inches; width 41 inches. Signed, lower left. 


HUDSON RIVER—PANEL I 


Painted in Riverdale, New York, 1920. Not hitherto exhibited. Oil 
on board. Height 4734 inches; width 21% inches. Unsigned. 


HUDSON RIVER—PANEL II 


Painted in Riverdale, New York, 1920. Not hitherto exhibited. Oil 
on board. Height 47% inches; width 26%. inches. Unsigned. 


[ 28 ] 


23 


24 


a> 


26 


rg) 


WINTER SUNSET—HUDSON RIVER 
Painted in Riverdale, New York, 1920. Not hitherto exhibited. Oil 
on board. Height 32 inches; width 40% inches. Signed, lower right. 


THE CROSS 3 
Painted in Riverdale, New York, 1920. Exhibited at the Société 
Anonyme, 1921. Oil on board. Height 32 inches; width 40 inches. 
Unsigned. 


SAILBOATS—LAKE GENEVA 


Painted from the sketch, in Riverdale, New York, 1921. Exhibited 
at the Society of Independent Artists, New York, 1921. Oil on board. 
Height 36 inches; width 47 inches. Unsigned. 


ON THE QUAY—GENEVA 

Painted from the sketch, in Riverdale, New York, 1922. Exhibited 
at the Society of Independent Artists, New York, 1922. Oil on board. 
Height 403 inches; width 32 inches. Unsigned. 


MOUNTAIN SCENE—SWITZERLAND 
Painted from the sketch, in Riverdale, New York, 1922. Oil on 
board. Height 31 inches; width 40 inches. Unsigned. 


[ 29 ] 


28 FLOWER MARKET—GENEVA I 


Painted from the sketch, in Riverdale, New York, 1922. Not hitherto 
exhibited. Oil on board. Height 32 inches; width 40% inches. Un- 
signed. 


29 FLOWER MARKET—GENEVA II 


Painted from the sketch, in Riverdale, New York, 1922. Not hitherto 
exhibited. Oil on board. Height 35% inches; width 47 4 inches. Un- 
signed. 

Lent by the Société Anonyme, Incorporated, Museum of Modern Art. 


WATER-COLOURS 


30 DUTCH WOMAN READING 


Painted in Laren, Holland, 1907. Not hitherto exhibited. Water- 
colour. Height 20 inches; width 15 inches. Signed, lower right. 


31 LONE PINE I 


Painted in Saranac, New York, 1915. Not exhibited. Water-colour. 
Height 1334 inches; width 18% inches. Signed, lower right. 


32 LONE PINE I 


Painted in Saranac, New York, 1915. Not exhibited. Water-colour. 
Height 13% inches; width 18% inches. Signed, lower right. 


[ 30] 


33 ADIRONDACK MOUNTAIN ROADWAY 


Painted in Elizabethtown, New York, 1915. Not hitherto exhibited. 
Water-colour. Height 13 % inches; width 19 inches. Signed, lower left. 
Lent by the Brooklyn Museum. 


34 MOUNT WASHINGTON 


Painted in Sugar Hill, NewHampshire, 1917. Not hitherto exhibited. 


Water-colour. Height 24 inches; width 32 inches. Signed, lower right. 
Lent by the Brooklyn Museum. 


35 WHITE MOUNTAIN RANGE 


Painted in Sugar Hill, New Hampshire, 1917. Not hitherto exhibited. 
Water-colour. Height 24 inches; width 32 inches. Signed, lower right. 


36 WHITE MOUNTAIN RANGE—SUMMER 
Painted in Sugar Hill, New Hampshire, 1917. Not hitherto exhibited. 
Water-colour. Height 29 inches; width 4734 inches. Signed, lower 
right. 


37 WHITE MOUNTAIN RANGE—AUTUMN 


Painted in Sugar Hill, New Hampshire, 1917. Not hitherto exhibited. 
Water-colour. Height 3114 inches; width 49 inches. Signed, lower 
right. 


(517) 


38 


39 


40 


41 


42 


PASTELS 


REVERIE 


Painted in Brooklyn, 1905. Not hitherto exhibited. Pastel on board. 
Height 26 inches; width 18 inches. Initials, lower right. 


FLAMINGOES I 


Painted in Saranac, New York, 1914. Exhibited at the Societe 
Anonyme, 1921. Pastel on board. Height 10% inches; width 4% 
inches. Unsigned. 


FLAMINGOES II 


Painted in Saranac, New York, 1914. Exhibited at the Societe 
Anonyme, 1921. Pastel on board. Height 12 inches; width 9 inches. 
Unsigned. 


FLAMINGOES III 


Painted in Saranac, New York, 1914. Exhibited at the Societe 
Anonyme, 1921. Pastel on board. Height 10% inches, width 6% 
inches. Signed, lower right. 


FLAMINGOES IV 


Painted in Saranac, New York, 1914. Exhibited at the Societe 
Anonyme, 1921. Pastel on board. Height 10% inches; width 634 
inches. Unsigned. 


[32] 


ILLUSTRATIONS 


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[ 37] 




















[39] 


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THE HUDSON— WINTER 





[ 59 ] 














THE CROSS 





[ 61 ] 


























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INDEX TO ILLUSTRATIONS 


Dorothea A. Dreier - - ape Frontispiece 
From a photograph by Mary E. Robinson 
Portrait of Dorothea A. Dreier ~ - Page 7 
By Walter Shirlaw 
Reverie— Pastel - - - - 8 
Dutch Kitchen—O/7/ - ~ - - 35 
Weaver—MaleI—Oi/ - - ~ - 37 
Weavers I—Oz/ - - - - - 39 
Roadway, Noordwyk Binnen—O7 - ~ mon AT 
Mount Washington—Water-colour — - - - 43 
Flamingoes I— Pastel — - - : - 45 
New York I—Oi/ - “ _ - Sacre 
New York II—Oz/ - - = - 49 
New York IIJ—0Oz/ - - - fe vt) B 
Mountain Scene— Switzerland — Oz/ = iy ~ 53 
Flower Market— Geneva I— O7/ - - 55 
On the Quay— Geneva— Oz/ - - - oy 
The Hudson—Winter—Oz/ - - - “ihe 
The Cross— Oz/ - - - - 61 


[ 63 ] 











DESIGNEDBY 

a FREDERICK P. HUDSON _ 
| PRODUCED BY 
CURRIER & HARFORD LIMITED _ 

“Sh NEweY ORK Crny- Ul saan ane 
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